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On, reveals that he can look in two directions at once. The group he's assembled here is an all-star ensemble. Drummer has been with him for a decade, while double bassist makes his first appearance with the guitarist, as does tenor saxophonist (whose soprano and bass clarinet playing are on display, too). Makes full use of this ensemble's possibilities. That said, he looks back through his catalog and composes for this band from some of the information gleaned there. One can recall the swirling melodic euphoria of in the guitar and guitar-synth interplay in 'Roofdogs.' On the ingenious 'Come and See,' 's many-stringed Picasso guitar meets 's bass clarinet to create a tonal inquiry before and establish a deep blue groove.
When adds his tenor and his electric, we get a Latinized swinging pulse that is ever so slightly reminiscent of the band with and (this isn't the only place that happens here). Fans of 's more abundantly lyrical side will appreciate the breezy sway of 'Leaving Town,' though its melody - twinned by his guitar and - is full of compelling tight turns, before the rhythm section evokes a deep, swinging blues and the guitarist gets refreshingly funky in his solo. On 'Signals' uses his Orchestrion and guitar with live loops; the band employs live loops throughout the intro on top. 's tenor solo is emotive, grainy, and reaching, while the atmosphere recalls - only generally - the album the guitarist cut with. The nocturnal, smoky 'Then and Now' has a torch ballad quality due to 's utterly songlike solo. Set closer 'Breakdealer' begins at the boiling point and gets hotter. The title hints at what does throughout the tune while pushing forward, but not only keeps up, he adds propulsive shades of his own and rocks the arpeggiated changes fluidly.
And are free to sprint and they do; both dazzle with their lyric invention and knotty, imaginative, nearly boppish solos. The two front-line players are surely at their best in one another's company on the date; you expect them to be. Yet it's the rhythm section that astonishes thoroughly.
Their interplay is not only intuitive, it's informative; it points to new corners for and to explore. Given the guitarist's more compositional solo experiments of the last few years - all of which have been very satisfying - is a return to what he does best: composing for, and playing with, a band of top-shelf players.
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Retrieved 30 December 2017. Retrieved 30 December 2017. Retrieved 30 December 2017. Retrieved 30 December 2017. Retrieved 30 December 2017. Retrieved 30 December 2017. ^ Hung, Steffen.
Retrieved 30 December 2017. Retrieved 30 December 2017. Retrieved 30 December 2017. Retrieved 30 December 2017. Retrieved 30 December 2017. Hung, Steffen.
Retrieved 30 December 2017. ^ Hung, Steffen. Retrieved 30 December 2017.
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Retrieved 30 December 2017. Retrieved 30 December 2017.
Pat Metheny
Retrieved 30 December 2017. Retrieved 30 December 2017. Retrieved 30 December 2017.
Retrieved 30 December 2017. 22 January 2010. Retrieved 30 December 2017.
Retrieved 30 December 2017. Retrieved 30 December 2017. 14 June 2011. Retrieved 30 December 2017. Retrieved 30 December 2017. Retrieved 30 December 2017.
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Hung, Steffen. Retrieved 30 December 2017. Retrieved 30 December 2017.
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Retrieved 30 December 2017. Nonesuch Records. Nonesuch Records. Retrieved 3 February 2018. 5 March 2007.
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Reviews
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1 January 1998. Retrieved 30 December 2017. Retrieved 30 December 2017.
Unity Band is a quartet made up of Metheny's guitar, as well as a bassist, drummer and sax player. Could it be the sequel to 80/81, a set beloved even by those who don't dig Metheny's softer side? While there's nothing as free-sounding as 'Open' here, Chris Potter is a worthy inheritor of the role once shared by Mike Brecker and Dewey Redman. His solos give the Unity Band a toughness that distinguishes it from the Pat Metheny Group (from which drummer Antonio Sanchez hails). Metheny is in fine form, too, whether playing acoustic or electric: a comfort, if not a revelation. Unity Band is a quartet made up of Metheny's guitar, as well as a bassist, drummer and sax player.
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Could it be the sequel to 80/81, a set beloved even by those who don't dig Metheny's softer side? While there's nothing as free-sounding as 'Open' here, Chris Potter is a worthy inheritor of the role once shared by Mike Brecker and Dewey Redman.
His solos give the Unity Band a toughness that distinguishes it from the Pat Metheny Group (from which drummer Antonio Sanchez hails). Metheny is in fine form, too, whether playing acoustic or electric: a comfort, if not a revelation. Unity Band is a quartet made up of Metheny's guitar, as well as a bassist, drummer and sax player. Could it be the sequel to 80/81, a set beloved even by those who don't dig Metheny's softer side? While there's nothing as free-sounding as 'Open' here, Chris Potter is a worthy inheritor of the role once shared by Mike Brecker and Dewey Redman.
His solos give the Unity Band a toughness that distinguishes it from the Pat Metheny Group (from which drummer Antonio Sanchez hails). Metheny is in fine form, too, whether playing acoustic or electric: a comfort, if not a revelation.
This article is about the 2012 jazz album. For bands named Unity, see. Unity Band by, Ben Williams, Released June 12, 2012 ( 2012-06-12) Recorded February 2012 Studio Avatar Studio, New York City Length 65: 49 Pat Metheny chronology (2011) 2011 Unity Band (2012) (2012) 2012 Professional ratings Review scores Source Rating favorable Unity Band is a studio album by American jazz guitarist along with on and, Ben Williams on bass, and on drums.
This is the first Metheny album featuring tenor saxophone in 32 years (since 1980's ). The album was released through on June 12, 2012 and received the for during the, marking Metheny's 20th Grammy win.
On Unity Band, Pat Metheny reveals that he can look in two directions at once. The group he's assembled here is an all-star ensemble. Drummer Antonio Sanchez has been with him for a decade, while double bassist Ben Williams makes his first appearance with the guitarist, as does tenor saxophonist Chris Potter (whose soprano and bass clarinet playing are on display, too). Metheny makes full use of this ensemble's possibilities.
That said, he looks back through his catalog and composes for this band from some of the information gleaned there. One can recall the swirling melodic euphoria of the Pat Metheny Group in the guitar and guitar-synth interplay in 'Roofdogs.' On the ingenious 'Come and See,' Metheny's many-stringed Picasso guitar meets Potter's bass clarinet to create a tonal inquiry before Williams and Sanchez establish a deep blue groove.
When Potter adds his tenor and Metheny his electric, we get a Latinized swinging pulse that is ever so slightly reminiscent of the 80/81 band with Michael Brecker and Dewey Redman (this isn't the only place that happens here). Fans of Metheny's more abundantly lyrical side will appreciate the breezy sway of 'Leaving Town,' though its melody - twinned by his guitar and Potter - is full of compelling tight turns, before the rhythm section evokes a deep, swinging blues and the guitarist gets refreshingly funky in his solo.
On 'Signals' Metheny uses his Orchestrion and guitar with live loops; the band employs live loops throughout the intro on top. Potter's tenor solo is emotive, grainy, and reaching, while the atmosphere recalls - only generally - the album the guitarist cut with Steve Reich. The nocturnal, smoky 'Then and Now' has a torch ballad quality due to Potter's utterly songlike solo.
Set closer 'Breakdealer' begins at the boiling point and gets hotter. The title hints at what Sanchez does throughout the tune while pushing forward, but Williams not only keeps up, he adds propulsive shades of his own and rocks the arpeggiated changes fluidly. Metheny and Potter are free to sprint and they do; both dazzle with their lyric invention and knotty, imaginative, nearly boppish solos. The two front-line players are surely at their best in one another's company on the date; you expect them to be. Yet it's the rhythm section that astonishes thoroughly.
Their interplay is not only intuitive, it's informative; it points to new corners for Metheny and Potter to explore. Given the guitarist's more compositional solo experiments of the last few years - all of which have been very satisfying - Unity Band is a return to what he does best: composing for, and playing with, a band of top-shelf players. Thom Jurek.